Rezivot Instant Film Processor: Shoot Instax with Your Film Camera
The Rezivot Instant Film Processor is a new camera add-on that lets you shoot Instax instant photos with vintage medium-format and large-format cameras.
“Our units can be mounted on those cameras originally designed to swap their own film holder on the back, by simply attaching the mount plate from an old Polaroid/Fujifilm instant packfilm holder to our processor,” Rezivot says. “It’s ready to use on your camera. No further modification or adjusting to your camera is needed.”
Cameras known to be compatible with the Rezivot include the Hasselblad 500/200/2000 series, Mamiya Universal, Mamiya RB67, Polaroid 600SE, and 4×5 view cameras.
“Based on our design, most 120 film cameras that have Polaroid packfilm backs will be able to use Instax wide film,” the company says. “Currently, we don’t have the resources to confirm all the cameras, but we will keep working on it.”
The Rezivot weighs 400g with two CR2 batteries inside. An OLED display shows the battery power and shots remaining, and a power switch on the unit helps prevent accidental activation when it’s not in use. There are two versions of the back: a Wide version that uses Fujifilm Instax Wide, and a Square version that’s loaded with Fujifilm Instax Square.
Here’s a short video introducing the Rezivot:
The Rezivot is being launched through a crowdfunding campaign on Kickstarter that has an ambitious goal of raising $230,000. A pledge of $219 or more may earn you one of the first units (either Wide or Square) if or when the project is successfully funded and launched.
This Free Web App Suggests Instagram Hashtags for Photos Using AI
Want a faster way to add relevant hashtags to your Instagram photos? Photerloo wants to help. The photo management service has launched a new free web tool that uses machine learning to automatically keywords for any photo.
The site is designed for both desktop and mobile users and is minimalist in how it works.
Simply upload a photo and the system will analyze it and generate a list of keywords and hashtags for you. You can click any of the suggested keywords to remove that one and have it be replaced with a new one.
Sliders on the page allow you to specify how many keywords or hashtags you’d like to see, and a second slider allows you to filter Instagram hashtags by popularity.
“Many photographers find that choosing the most popular Instagram tags like #instagood is not a good strategy it is difficult to compete for being a top post,” Photerloo tells PetaPixel. “So, it is important to choose tags that are popular enough to get a lot of traffic but still realistic to win a top post spot that can result in a lot of extra exposure and followers for the photographer.”
Once you’re satisfied with your list of words, tapping a button on the page will copy them to your clipboard for pasting into Instagram or whatever website or software you need them for.
We did some test with a selection of photos, and here are the results we got with the “most popular” setting:
The Modern Queer Artist
The queer identity has proliferated popular culture. A celebration of sexual expression, identity and defiance against gender norms has reverberated on Instagram as the underground goes online. Choosing to use their online platforms to explore queer culture and evoke a public discussion, live-streamed in their comments, these artists’ experiences as gay men transcend the mediums which have driven a career and following through art.
The Photographer Christopher Sherman/ @Hellochristophersherm…
In the meantime, the Department of Veteran Affairs was instructed to download/print a much older portrait of then candidate Trump, seen below.
As a photographer and veteran involved in policy work, I am interested in both the messaging and methodology of Trump’s two official portraits. As a baseline I will compare Trump’s two portraits against a more standard portrait seen with Vice President Pence’s and Congresswoman Stephanie Murphy’s portrait.
Let us look at our baseline, the standard portrait. Below are two images, one of Vice President Pence and the newly elected member from my district, Congresswoman Murphy. As a whole both are consistent in the obvious ways that matter, so lets go in. Both have multiple catchlights that bring attention to the eyes, giving them a three dimensional quality.
A soft key light is positioned camera left, with a bounce for the fill on camera right. Both appear to have a contrast ratio of 3:1 between the key/fill. Skin tones are excellent on both, white shirts are a true white, though the saturation of the most dominant color (red) seems much more saturated with Mike Pence compared to the Congresswoman.
Now, lets look at President Trump’s two official portraits — the similarities between them and then compare against more standard portraits with the examples above.
Notice in the catchlight in both images: a single, specular source placed below the subject’s eye line. Normally this is placed at a 10 or 2 o’clock position. Here they are 8 and 4 o’clock – the exact opposite of Pence and Murphy. This placement of a main light source as used in filmmaking usually suggests something rather negative about the subject: that they are sinister, to be feared, or not to be trusted.
In Trump’s previous portrait it is much easier to see the effect of this low angle source – look at the hard shadows created by the subject’s nose on the camera right side of the face.
Looking at President Trump’s portrait vs Vice President Pence’s, there simply isn’t enough light from a controlled source to render his shirt a true white (notice the warm reflected light of Trump’s skin down onto his shirt.)
Compare the luminance of Trump’s skin/teeth/hair against that of Mike Pence — there is no comparison. With a portrait, the skin needs a certain amount of light to absorb and then reflect that light back, giving it a sort of glowing quality. In Trump’s new portrait, there simply isn’t enough light hitting the subject.
In the West, we read not only words from left to right, but also movement, contrast, and story. A character walks across the screen from left to right: he is going forward. A character walks from right to left: he is going backward. The direction of movement tells us something often subconsciously. Light hitting the subject from camera left and wrapping around a subject’s face creates visual interest, contrast, AND is in keeping with how we would normally read: from left to right.
In Trump’s new official portrait that story, movement, and contrast as told through the use of light just simply isn’t there. It looks as though most of the light is coming from existing overhead fixtures in the room.
I would agree that Trump’s new portrait is an improvement upon the one previously distributed. But as a photographer and someone involved with policy work, my take is that President Trump’s newly released official portrait is terrible (especially when viewed next to Pence’s). And most curious about both of Trump’s portraits is this intentional, hard light source placed below the subject (sinister lighting technique.) This just strikes me as odd. I cannot help but wonder if Trump himself is insisting that he be photographed this way?
You be the judge.
About the author: Doug Jackson is a photographer based out of Orlando, Florida. He holds a Bachelors of Science in Film and served as a U.S. Marine in the Iraq War. You can find more of his work and writing on his website and blog. This article was also published here.
“This project is my way of questioning our behavior on social media,” Bahrami tells PetaPixel. “The people we chose are different. I admire their bravery and ability to express themselves openly on social media.
“They portray true stories of our generation. Stories of greed, fear, anxiety, love, and hate.”
“I want to be more authentic on social media and follow more human stories,” Bahrami says. “People often find it uncomfortable being themselves on Instagram and I want to move beyond the fakes selfies and challenge others to express their tears, anger and the idea that we don’t need to be superhumans.
Ralph Lauren Unveils Winter Olympics Ensembles
Only 100 days remain until the start to the 2018 Winter Olympic Games in Pyeongchang, South Korea, and for the sixth time, Polo Ralph Lauren has been tasked as the official outfitter for the US team.
In typical Polo Ralph Lauren fashion, the closing ceremony uniform combines “traditional artisanal design references with modern fabrications in a patriotic spirit of red, white, and blue,” according to a recent press release. The uniforms were unveiled on a “Today” show segment, featurin…
Here’s the Best Way to Match Tones in Composite Photos
One of the most common difficulties with compositing photos is having the color tones of the different parts of the image match. This can be tricky to achieve, but this 10-minute tutorial by Photoshop expert Antti Karppinen shows a powerful way you can do it using a Selective Color adjustment mask.
By putting a neutral gray layer on top of the composite, you can start to see the differences. First, create a new blank layer. Press Shift + Backspace to fill the layer with 50% gray. Then, choose the Luminosity blend mode.
You’ll start to see some colors emerging through the darkness, and by adding a saturation adjustment layer you can boost these colors so you can see easily. Now you have a color map of the image.
Next, add a Selective Color adjustment mask.
By moving around the sliders, you are able to adjust the color map so that you blend the two elements together. The color map provides an excellent guide for perfectly matching the tones.
Try adjusting neutrals first — that’s where most of the color information is — as well as other color tones of the image.
Done successfully, your map will look something like this:
Now bring back the original layers and you’ll see the change. Here’s the original:
And here is the color matched image using this easy but powerful technique:
“I do lots of compositions and this is one of my most used techniques when it comes blending images together with different tones,” Karppinen tells PetaPixel. “This is pretty cool technique.”
Check out the video above for a step-by-step tutorial showing exactly how this technique is done. You can also find more of Karppinen work on his YouTube channel and website.
Micron would sell flash memory to Longsys, who would assemble the cards with Lexar packaging, and ship out to Lexar for distribution. The rise in flash memory prices meant the white label manufacturing process and marketing costs were lost profits for Micron, as they could sell the flash memory for higher prices elsewhere. The flash shortage is temporary, and prices should come down.
More importantly, according to this employee, there is a warehouse full of Lexar CF/SD/XQD cards in Tennessee, ready to go.
The problem, however, is that the cards all have the wrong packaging at the moment. Currently, the cards have Micron/Lexar packaging instead of Longsys/Lexar packing.
“[V]ery little is actually changing,” the source tells Nikon Rumors. “Lexar, with its 40 employees, has a new owner, but it’s the owner who’s been the actual manufacturer all along.”
The same Lexar employee told Nikon Rumors‘ source that CFExpress is the future.
“CFExpress is essentially the next revision of XQD, and there should be full backward compatibility with XQD, and that getting D4/D5/500/D850’s to work with CFE cards should be a simple software patch,” the source says.
What kind of images does a $63,000 stills camera produce? Here’s a 19-minute video by Ted Forbes of The Art of Photography in which he uses a Phase One XF medium format DSLR to show the bang for your buck that you get when you spend 63 grand on a camera kit.
The Phase One XF is a medium-format camera built with a modular design. That means you can interchange not only the lenses but also the backs of the camera. In this particular setup, the new $50,000 Phase One IQ3 monochrome back is being tested.
The monochrome back means that the camera shoots in black and white, but this is “very different” to other black and white cameras. It can capture light “beyond the visual spectrum,” recording light from the infrared spectrum as well.
With 101 megapixels in each shot, the amount of detail you can actually capture with this camera is staggering. It’s capable of retaining a huge amount of detail in the shadows and bright highlights that other cameras are just not capable of.
“The amount of data that this sensor is capable of capturing is incredible,” said Forbes. He also described the camera as “very forgiving,” thanks to its incredibly high dynamic range.
This image of a cat in a window was shot at ISO 12,800. Amazingly, when Forbes zooms in to 100%, there is absolutely no noise in the image.
It’s even more impressive when you consider that the image is shot in very low light, showing just how good the noise handling is on this camera.
Four photographers who have used Instagram to raise money, promote their work and land assignments explained how they curate their Instagram feeds during a seminar at PhotoPlus Expo. They also explained how they handle clients’ requests and expectations about sharing assignment images with their followers, and how they interact with their audiences.
When outdoor photographer and director Chris Burkard was crowdfunding the documentary “Under the Arctic Sky,” he promoted it through Instagram. He created a Google calendar to plan and schedule social media posts that highlighted different pitches. After the film was finished, he made a trailer promoting a worldwide tour to screen the movie, then cut a second, shorter version for Instagram. “You need a 30-second cut down for social media,” Burkard said. “This is the way we digest information.”
Malin Fezehai, who uses both Instagram and Instagram stories to share images she has shot while on assignment for UNICEF, the Malala Fund and Water Aid, noted that some of her nonprofit clients have seen increased donations via social media. This is thanks in part to the Instagram Stories swipe up feature, which makes it easy for viewers to make donations. Like other panelists, Fezehai asks clients who hire her if they want images or outtakes shared while she’s in the field, after the assignment is published, or never.
Dina Litovsky said she was always “bad about self-promotion.” She says that through Instagram, potential clients can see her work “without me pushing it in their in-box.” As her following grew, she says, she began paying attention to the images and captions that work well on the platform. She loves layered images that fill the frame with information, but when posting on Instagram, she says. “I think the graphic, simple ones with a lot of colors work best.” People check Instagram while commuting to work, Litovsky notes, and she views Instagram “as an entertainment platform.” She keeps her captions short, with few hashtags, and strives for humor. She uses a DSLR and flash on assignment, and picks one or two images to post on Instagram, she says; iPhone imagery “was not my look.”
Litovsky, like the other panelists, never posts more than twice a day. She notes that she’s “unfollowed” people who post too often.
When Ryan Pfluger began making road trips to explore what it means “to be queer in America,” he would post images in the morning and at night, offering a glimpse of his process. He showed, for example, an image of his car broken down by the side of the road.
Sharing his struggles “builds camaraderie,” he says. When a client publishes an image he’s shot, he posts the image on Instagram, always thanking the subject, stylists and photo editor. “I think other photo editors see that, for me, it’s a collaborative process.”
Many of the celebrities he photographs repost his photos. In his agreement with celebrity publicists, he notes that his credit must appear with all his photos.
Panelists emphasized the need for an authentic, intimate voice on social media. “As a photographer you’re asking people you photograph to be personal, so I feel it’s important to be personal yourself,” said Fezehai. Moderator Conor Risch, senior editor of PDN, noted that Burkard uses a “heart on his sleeve” tone in his captions and his interactions with followers. “I’ve placed emphasis on getting to know followers,” Burkard said. “If you don’t like people, you shouldn’t be on social media.”
Burkard says every commercial assignment “now has a social component.” Some commercial clients ask his advice on how to appeal to the climbers and outdoor enthusiasts who follow him. “If they’re trying to market a product to your demographic, they want to know what you think,” he says. He added that he’s talked to book publishers “who take into account your following” when evaluating an idea for a book and its potential market.
Burkard says that when he submits a bid for commercial jobs, he makes his fee to share on social media a separate line item on his budget. Once, he said, a photographer could shoot a job for Toyota one week, and shoot for a competing car company the next. However, when photographers mention a client on social media, competitors notice. These posts are an implied endorsement that may hinder a photographer’s ability to get work from a competitive brand.
The panelists see Instagram as a supplement to their portfolios. “Don’t put work out there that you don’t want to shoot,” Burkard advised. Certain commercial jobs he’s done that don’t fit his usual style or favorite subject matter are found deep within his website, but not on his Instagram feed. While his portfolio is more “carefully curated” selection of portrait, landscape and fine-art work, Pfluger says, any client following him on Instagram “could see the consistency of my visual language regardless of what I’m shooting. It looks like me and feels like me, no matter what I’m shooting that day.”